• Journal of the Korea Academia-Industrial cooperation Society
• /
• v.21 no.9
• /
• pp.269-282
• /
• 2020

This paper presents the scientific basis for the significance and physiological activity of gongyang as tributes, focusing on the four summer fruits, i.e., grapes, watermelons, oriental melons, and dragon fruits, which were used as one of the yukbeopgongyang in Yeongsanjae's thorough literature review (yeongsanjae and 2010.3~2020.2 published fruit research). As a result of the study, the fruit is not obtained from fruit trees, but from enlightenment. Chemically, the fruit had a high content of antioxidants, such as polyphenol and flavonoid. The fruit had excellent DPPH and ABTS+ radical scavenging activities and reducing power. The skin of the fruits, the non-edible part, had higher physiological activity than the flesh, the edible part. Therefore, further studies on the physiological activity in each part of dragon fruit and regarding how to ingest and utilize the peel of the four fruits need to be conducted.

• (The) Research of the performance art and culture
• /
• no.34
• /
• pp.277-313
• /
• 2017

This study is to find out the correlation with buddhist music after analyzing the rhythm of six pieces of PanYeombul sung by Kim Janggil out of Ogu exorcism of East coast the findings summarized are as follows. First, PanYeombul by Kim Janggil, performed on Oct, 16, 2016, was composed of , , , , , , , , , , and . Still, even if PanYeombul is performed by the same male shaman, the composition can be added or left out depending on some circumstances, which means the procedures are flexible. Seeing that there is common component of in additoin to compared with Kimyongtaek, it can be said that the component of is an important part in PanYeombul of Ogu exorcism of East coast Second, is usually referred to 'SinmyojangguDaedalani' in buddhist ritual, While Kim yongtaek accepts this practice in title, Kim Janggil uses 'YeomhwajangguDaedalani' as the title which makes his song different from others. Yeomhwa means "picking up flowers with fingers" which has been used in buddhism, not in common Considering this fact, the conclusion can be reached that by using the term 'Daedalani' from a buddhist chant, but making differentiation from buddhism, Kim Janggil is making the effort to be different from buddhist rituals. give some unique meaning to shaman rituals. Third, PanYeombul of Ogu exorcism of East coast may be divided into two main parts - the former part is PanYeombul and the latter part is Jiokga. In performing PanYeombul, male shaman sits singing alone and playing Jing himself, on the other hand, in case of Jiokga, he stands singing a solo with gwaeggwari in his hand accompanied by other musicians with the rhythm of Samgongjaebi. As the song and the accompaniment are in the form of giving and taking like duet. it is in peak in terms of music. Accordingly, PanYeombul can be divided into PanYeombul and Jiokga, But since it is performed by one male shaman and sung a solo, it is usually seen as one procedure. Jing, which is a kind of accompaniment in PanYeombul by Kim Janggil, has the role to distinguish a phrase and settle the musical paragraph. When the buddhist chant with one word-one note is performed. it requires the performer to catch his or her breath or clear throat. Just then, Jing comes out for filling out the intervals. Also, its role to distinguish a phrase and settle the musical paragraph helps make it clear to deliver words. The rhythm of Jing is mostly made up of small triple time except equal small binary time, comes out with overwhelmingly more frequency of Sutsoe(♪♩) than Amsoe(♩♪), and often shows syncopation. By often using Off Beat or short-long rhythm even in accompaniment of equal small binary time, he tris to give some variation to monotonous and equal rhythm for the musical vitality. These are similar to Sutsoe rhythm which can evoke tension and Kim Janggil makes these things his characierisiic of rhythm. Fifth, all the pieces consist of mi, sol, la, do, re and the descending melody like do'${\searrow}$la${\searrow}$sol${\searrow}$mi appears most frequently. The descending melody usually arouses the feeling of sorrow, so the sadness for the deceased is presented properly, which suggests his musical talent. Generally, pieces take on Menari-tori as a whole where the length of sol appears for a short time in descending la${\searrow}$sol${\searrow}$mi of perfect four degrees. Sixth, Even he accepts the lines of buddhist chant, he changes them in some degree. For example, he inserted some words between lines like 'Wonwangsaeng' and 'NamuAmitabul' and added Korean words like hapsosa to the lines of buddhist service written in Chinese character. Also, he inserted some words like 'iiiiiii~' to express the feeling of sadness. These are to maximize the desire of the deceased to go to the heaven and at the same time to diminish the sign of buddhism and strengthen the features of shamanism. Seventh, the effort to decrease the sign of buddhism is made in pasting lines of two songs. For example, Between the last words 'Wonsuaenapsu of Dage and the first words 'Jisimgwimyeongrye' of Chiljeongrye, there is usually a short pause to distinguish paragraphs, But he continues two songs without any pause to get rid of the feelings of buddhist chant. In terms of melody, he makes a distance from buddhist chant in an effort that he gives some traits to shaman rituals which are different from buddhist even if he uses the lines of buddhist rituals. Eighth, the analyzed pieces can be in four categories - no regular melody , , equal small binary time , eotmori melody of ten eighth time with 3+2+3+2 mixed small time . and Samgongjaebi melody 3+2+3 mixed small time . Each piece has its unique melody. Although of buddhist ritual is often performed, by using eotmori melody, he evokes the feeling of shaman and is another example of giving unique characteristic to the shaman of East coast by using Samgongjaebi melody.

• Korean Journal of Animal Reproduction
• /
• v.14 no.1
• /
• pp.57-65
• /
• 1990

These experiment were carried out ; (1) to investigate the changes of progesterone in plasma, whole milk and skim milk during oestrus cycle and pregnancy and ; (20) to evaluate a chemiluminescence Immunoassay(CIA) as an alternative method by measuring the progesterone concentration is skim milk by RIA and CIA. The results obtained in these experiments were summerized as follows ; 1. Plasma progesterone levels in non-pregnant Holstein during oestrus cycle were relatively low until day 8 after oestrus. And then, the progesterone level began to increase and reached a peak with 6.3ng/ml on day 14 and then declined repidly to 1.5ng/ml and 2.2ng/ml on day 18 and 20, respectively. 2. Whole milk progesterone level in pregnant Holstein increased from 1.0ng/ml on oestrus to 16.0ng/ml on day 8 and then remained from 11.0ng/ml on day 10 to 22.0ng/ml on day 22. 3. In non-pregnant Holstein, whole milk pregesterone lev디 was 1.5ng/ml on oestrus and began to increase rapidly from day 6 after oestrus and exhibited a ranged of levels, 17.8~20.0ng/ml from day 6 to day 16 after oestrus. 4. Skim milk progesterone levels in pregnant Holstein were a range of 130~490pg/ml at the time of estrus and began to increase continually till then showing constant levels ranging from 1300pg/ml on day 10 to 1650pg/ml on day 22. 5. In non-pregnant Holstein, skim milk progesterone level was 160pg/ml on oestrus and began to increase from 190pg/ml on day 2 after oestrus to day 8 and then keep constant levels ran ging from 1050 to 1300pg/ml from day 8 to day 16 and then decreased to 240~450pg/ml from day 18 to day 22 after oestrus. 6. The results obtained from CIA for the analysis of skim milk progesterone were in good agreement with the values derived by RIA.(r=0.914)

• Journal of The Korean Society of Grassland and Forage Science
• /
• v.24 no.4
• /
• pp.347-358
• /
• 2004

In Mongolia which consists of nomadic populations, horse has been loved by nomads and considered most important transportation means. Horses have been used when they were making long journey looking for new plain ground for grazing. Therefore, horse is closely connected with Mongolian nomadic culture. In Korea, too, horses had been considered one of most important means for transportation and military. The symbolism of horse that is represented in both Mongolia and Korea is Heavenly Horse which communicates with the God and it was sanctified as a Sacrificing Horse which was sent to God for sacrifice, and it was even worshiped as Divine Horse, the diety. As is the case of two of Mongolian customs associated with Mongolian language are 'the ceremony of horse's giving birth her young' and 'the ceremony of letting the mare go where it was before', all the cases are related with cattle's milk. The ceremony of 'horse's giving birth her young' is the ceremony where people hope that they would see the young can grow well which were born in early summer thus increasing the numbers of horse. To go with this, they perform a ceremony of Chachal in which they sprinkle the best quality white milk which is the symbol of good luck and hope they would produce plentiful of dairy products. The ceremony of 'letting the mare go where it was before' is also the ceremony where people hope to have many new born young horses thus produce more dairy products and Airag for the next year as milking is no more available for that you. Since the unified Silla Era, Koreans have performed a sacrifice rituals to horse in auspicious day. It's purpose is to see their horses get no disease and bear as many youngs as possible. The Back Ins Je, one of well blown festivals in Jeju Island, was originated from people's wish to prosper in stock farming. It can be said that the custom of Korea and Mongolia related with horse's giving birth was originated from the wishes to god for fertility and fecundity. On top of that, while Mongolians sprinkled horse's milk both on the ground and to the air hoping they would have increased houses and, thus, secure many dairy products, Koreans wish that they would see the increased number of horses and their healthy conditions through heavenly rituals.

• Korean Journal of Agricultural Science
• /
• v.14 no.1
• /
• pp.61-67
• /
• 1987

The study was conducted to determine the main effects of breed, sire, parity, farrowing year and month on preweaning body weight and postweaning traits. The data analysis were the record of 253 male pigs produced from 54 boars of Landrace, Hampshire, Large Yorkshire and Duroc purebreds at National Animal Breeding Institute from 1978 to 1983. The results obtained in this study are summarized as follows. 1. The effect of breed on preweaning body weight was highly significant at 1% level for body weight at birth, 21 days and 56days, and effect of parity was highly significant at 1% level for body weight at 56 days. 2. On preweaning body weight by breed, Duroc was superior with $1.593{\pm}0.001Kg$ for body weight at birth, and Landrace was superior with $6.227{\pm}0.199$ and $18.590{\pm}0.493Kg$ for body weight at 21 days and 56 days, respectively. 3. The effect of breed on postweaning traits were highly signicant at 1% level for average daily gain, feed efficiency, backfat thickness and days to 90Kg, and the effect of parity was significant at 5% level for backfat thickness. 4. On postweaning traits by breed, Duroc was superior with $876.275{\pm}8.198g$ and $2.754{\pm}0.198$ for average daily gain and feed efficiency, respectively, and Hampshire was thin with $1.969{\pm}0.198$ em for backfat thickness.

• Korean Journal of Agricultural Science
• /
• v.14 no.1
• /
• pp.51-60
• /
• 1987

The study was conducted to estimate the heritabilities, genetic and phenotypic correlations on preweaning body weight and postweaning traits. The data analysis were the record of 253 male pigs produced from 54 boars of Landrace, Hampshire, Large Yorkshire and Duroc purebreds raised at National Animal Breeding Institute from 1978 to 1983. The results obtained in this study are summarized as follows. 1. The heritabilities of body weight at birth, 21days and 56days were $0.233{\pm}0.160$, $0.485{\pm}0.185$ and $0.758{\pm}0.214$, respectively, and the heritabilities estimated on postweaning traits were $0.270{\pm}0.164$ for average daily gain, $0.350{\pm}0.174$ for feed requirement, $0.272{\pm}0.165$ for backfat thickness, $0.887{\pm}0.221$ for days to 90Kg and $0.565{\pm}0.195$ for selection index. 2. Genetic correlations of body weight at birth with 21 days and 56 days were 0.349 and 0.19& and body weight at 21 days with 56 days was 0.907, and daily gain with feed requirement, backfat thickness, days to 90 Kg and selection index were -0.552, 0.107, -0.903 and 0.716, and feed requirement with backfat thickness, days to 90Kg and selection index were -0.058, 0.699 and -0.942, and backfat thickness with days to 90 Kg and selection index were -0.237 and -0.025, respectively. 3. Phenotypic correlations of body weight at birth with 21 days and 56 days were 0.342 and 0.287, and body weight at 21 days with 56 days was 0.893 and daily gain with feed requirement, backfat thickness, days to 90Kg and selection index were -0.062, 0.093, -0.651 and 0.540, and feed requirement with backfat thickness, days to 90Kg and selection index were 0.105, 0.601 and -0.613, and backfat thickness with days to 90Kg and selection index were -0.040, -0.416, respectively.

• Korean Journal of Agricultural Science
• /
• v.21 no.1
• /
• pp.45-53
• /
• 1994

This study was conducted to estimate the genetic and environmental effects on lactation yield and milk compositions in Holstein cows. The data analysis were the records of 159 cows rearing at Nation Animal Breeding Institute from 1990 to 1991. The least square means were estimated on milk and fat yield in lactation yield, and the percent of fat, protein, solids-not-fat and total solid in milk composition. The results obtained are summarized as follows: 1. The average yield of milk and fat in 305 days were $7,26.56{\pm}3,57.24$ and $254.65{\pm}44.94Kg$ and the percent of fat, protein, solids-not-fat and total solid were $3.69{\pm}0.43$, $3.32{\pm}0.41$, $9.15{\pm}0.49$ and $12.75{\pm}0.96$ and the coefficients of variation were 18.68, 17.64, 11.88 and 12.34% for milk yield, fat yield, fat percent and protein percent, respectively. 2. The effect of sires was highly significant at 1% level in milk and fat yield and fat percent, and significant at 5% level in protein and total solid percent. Among the sires, B, L and O sire were superior in milk yield with 7,571.22, 7,499.11 and 7,420.58 Kg, and A, F and K sire were superior in protein percent with 3.75, 3.64 and 3.65, respectively. 3. The effect of parity was highly significant at 1% level in milk yield, and significant at 5% level in fat yield. Among the parities, the 3rd parity was superior in milk and fat yield with 7,634.54 and 274.98 Kg, and the 4th and over was superior in fat and protein percent with 3.90 and 3.50, respectively. 4. The effect of calving seasons was highly significant at 1% level in milk yield, and significant at 5% level in fat yield, and the percent of fat, protein and total solid. Among the calving seasons, spring and winter were superior in milk yield with 7,310.31 and 7,364.57 Kg, also spring and winter were superior in protein percent with 3.68 and 3.52, respectively.

• Journal of the Korean Institute of Traditional Landscape Architecture
• /
• v.29 no.4
• /
• pp.170-181
• /
• 2011

This Research will explore the meaning indicated in the landscape meaning and feature of literary group culture, focusing in Gurujeong(九老亭: pavilion for nine elders) and Samgaeseokmun(三溪石門: stone gate in three valleys) located in Dundeok-myun, Imshil-gun, and will seek to understand the implications by studying the cultural landscape spread out in the area. The place where Gurojeong and Samgaeseokmun is located is the meeting point of the three valleys, Dunnam stream, Osu stream, and Yul stream, which is the main location to view the beautiful scenery, which has the nickname as the dwelling place of a celestial being. Especially, based on the description of old maps, "Samgae(three valleys)" and "Samgaeseokmun" possesses significance as a landmark and shows a characteristic feature of landscape structures of low hills. Dangugurohwe(丹丘九老會: nine elders gathering on the dwelling of a celestial being) originated from Hyangsangurohwe(香山九老會: gathering of nine elders on a fragrant mountain), where Baekgeoi(白居易) of China was one of the main people. This group was organized by nine elders over the age of 60 desiring to view the scenery of Doyeonmyeong. The group enhanced the literary spirit on the low hill, erecting a tower, and enjoying the beautiful scenery changing every season with scholars from the same region. This phenomenon seems to have been formed upon the positive response to gatherings of elders, which were prevalent in the Joseon Dynasty. If the internal idea pursued by the group was "longevity," the external idea pursued can be summarized as "the spirit the respect for the elders." Naming the groups as 'Dangudae(place where the celestial being lives), Guseondong(valley of seeking a celestial life), Bangjangsan(mountain of a high priest), and Daecheondae(place of communicating with God) was likely a device to introspect oneself and symbolize one's life process. Furthermore, the reason Samgaeseokmun, which is an imitation of Choi, Chiwon's work, was built near Soyocheo, was probably to yearn the celestial land and based on the desire to follow Choi, Chiwon, who was the most self-fulfilling being presumed to have become a celestial being by practicing the pursuit of freedom, escaping from the reality. After tracing the symbolizing meaning of the four letters carved in the left side of the stone wall of Dangudae, the conclusion that this place was not only a place for literary gatherings of the nine elders of Saseong(four families), but was a place where the celestial being dwelled could be inferred. Corresponding with Dangudae and Gurojeong, which are places where the order of human and nature is harmonized and where its meaning associated with the location intensifies, arouses strong bond, can be said to be the symbol of the traces of celestial beings where the spirits of attachment to a certain place is embedded. The acts performed in Dangugurohwe were those of traditional leisure including strolling, viewing the scenery, drinking, composing poems, and playing instruments, and sometimes listening to stories, tea ceremony, prayers, and fishing were added, which indicates that the gathering had a strong tendency towards pastoral and hermit life.

• (The) Research of the performance art and culture
• /
• no.35
• /
• pp.509-541
• /
• 2017

The basic intent of this thesis lies in proposing a meaningful direction of developing cultural content by combining Asian traditional dance forms which hold cultural closeness in common historically. For this study, this paper selected Oyangseon(五羊仙; 'Five Taoist Hermits on Five Sheep'), a Korean court dance of Chinese origin as an example as the Oyangseon story is commonly found in ancient Vietnam and China as well as Korea. Its original narrative is a mythic story that five hermits had come down to ancient Vietnam region riding on five sheep of five colors to bestow 6 ears of milets to people. Later, the story was spread to other regions to be reformed into Woljeongjeon(越井傳; Vietnam), Choi Wee(崔?; China) and Oyangseon(Korea) that have different plot and background. While Woljeongjeon and Choi Wee were adapted into novels that describe the hero Choi Wee's mysterious adventure to be repaid his father's previous devotion to ancient King's shrine. Meanwhile, the epic narrative of Korean Oyangseon proves the modification of the original myth by adding a Seowangmo(西王母; a Chinese mythic heavenly queen) motif while it was enacted as a court dance to praise king's long life and pray country's prosperity following Confucian concept. Based on this historical lineage of Oyangseon story, I searched for the possiblity of constructing a cultural content program by combining the Oyangseon dance of three countries. While there was Oyangseonmu(五羊仙舞) in China which was recently composed by referring to Korean Oyangseon, any traditional dance item based on Oyangseon story was not available in Vietnam. Thus, I tried to propose the Vietnam Dance College to choreograph a new dance item with Woljeongjeon story while using the traditional dance technique, music, costume, etc. of Vietnam as most as possible. As a result, I could display a direction of developing a cultural content by staging three countries' dance items based on Oyangseon story at Korean National Haneul Theater in Oct 2016.

• (The) Research of the performance art and culture
• /
• no.35
• /
• pp.471-508
• /
• 2017

The basic intent of this thesis lies in proposing a meaningful direction of developing cultural content by combining Asian traditional dance forms which hold cultural closeness in common historically. For this study, this paper selected Oyangseon(五羊仙; 'Five Taoist Hermits on Five Sheep'), a Korean court dance of Chinese origin as an example as the Oyangseon story is commonly found in ancient Vietnam and China as well as Korea. Its original narrative is a mythic story that five hermits had come down to ancient Vietnam region riding on five sheep of five colors to bestow 6 ears of milets to people. Later, the story was spread to other regions to be reformed into Woljeongjeon(越井傳; Vietnam), Choi Wee(崔?; China) and Oyangseon(Korea) that have different plot and background. While Woljeongjeon and Choi Wee were adapted into novels that describe the hero Choi Wee's mysterious adventure to be repaid his father's previous devotion to ancient King's shrine. Meanwhile, the epic narrative of Korean Oyangseon proves the modification of the original myth by adding a Seowangmo(西王母; a Chinese mythic heavenly queen) motif while it was enacted as a court dance to praise king's long life and pray country's prosperity following Confucian concept. Based on this historical lineage of Oyangseon story, I searched for the possiblity of constructing a cultural content program by combining the Oyangseon dance of three countries. While there was Oyangseonmu(五羊仙舞) in China which was recently composed by referring to Korean Oyangseon, any traditional dance item based on Oyangseon story was not available in Vietnam. Thus, I tried to propose the Vietnam Dance College to choreograph a new dance item with Woljeongjeon story while using the traditional dance technique, music, costume, etc. of Vietnam as most as possible. As a result, I could display a direction of developing a cultural content by staging three countries' dance items based on Oyangseon story at Korean National Haneul Theater in Oct 2016.